Quotes of All Topics . Occasions . Authors
If you can make a good picture that actually has some substance, that's doubly good nowadays 'cause most everybody else is trying to address how many CGI plates we're gonna do, what little being is gonna come in from another asteroid.
The medical operations are so challenging because they're so technical, as well. I assumed before we started that we would do the classic thing, when it comes to the operations, that we would do all of these inserts with real doctors.
When we are conscious of the least comparative merit in ourselves, we should take as much care to conceal the value we set upon it, as if it were a real defect; to be elated or vain upon it is showing your money before people in want.
If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
I think, sometimes, actors having a holistic view of what they're in can be overrated. Especially when you're playing somebody as narcissistic and self-involved as Ernest Hemingway, it doesn't really matter what else is in the script.
Most projects that I've done are really not about the project. They're about what's going on inside and around, that journey that we're all on, and what I can do to help that journey further itself and be of encouragement to somebody.
Definitely for me, my personality, having children was a definite sea change. I found it very, very hard to balance show business and being a dad. The narcissism of show business and the complete, total focus of it was very difficult.
Sexiness, particularly in movies, is the chess game in the 'Thomas Crown Affair'. It's, it's, I don't know, but Faye Dunaway comes up a lot in that thinking. It's the subtlety of sexiness. The moment you try to be sexy, then it's not.
Some of these things I saw in foreign films - African films, Cuban films - long before I decided to really go on this course as an actor. I started to think about what values I saw in those films that I wanted to bring to my projects.
I do my best to allow myself to really feel it [emotional pain]. Cry. Get all in it. Really experience my experience so that I may move through it. And talk about it. I try not to let anything get brushed over and swept under the rug.
The last major breakthrough for the theatre was electricity, and we have to push beyond that if we want to move beyond the blue-haired old ladies in the stalls. Im going to keep working on the integration of film and video technology.
I've always been short and stocky. So when I got into repertory theatre after graduation, I found myself doing character roles: because of my deep voice, shape and height, I was playing 40-year-old, 50-year-old roles at the age of 23.
When I met Quentin [Tarantino], he told me what every actor wishes from any director. He said, "I've been through a Demián Bichir marathon. I've watched everything you've done." Most of the time, they don't even know what you've done.
We've always talked about doing something else and Campbell Scott is always busy and I'm always busy. But when we came up with the idea of doing the potato famine as a hip hop musical, I wanted somebody who was going to bring gravity.
In aviation they have auto pilot and color radar and a lot of other instrumentation that is a backup for pilots. It's really brought the incidents of plane crashes way down. Same thing ought to happen in the medical industry, I think.
For instance, when I go to the premiere on Tuesday I probably won't watch the film at all - I'll be watching the audience just to see their reaction to different moments, what I'm doing right and what I'm doing wrong, stuff like that.
I've seen people that don't treat their animals well and yet their animals are still just as loving to them even though they're not treated that well. It's very hard to find that kind of loyalty and love and affection in human beings.
I look for characters that are fun and that I'm going to have fun playing. By the way, that's whether it's drama, sci-fi, action, comedy, family movies or action-comedy. I just always want to have fun doing it. That's the bottom line.
I think all actors have a similar deal. You want some people who understand. Although it looks great - and is great - there are also shoddy moments when you feel really rotten, and when it's going well, you're not allowed to complain.
I think a lot of people in their average day actually imagine two sides of a conversation at one point or another. I think that the mental trick of holding two sides of a conversation in your head is actually something that we all do.
The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.
The kindest compliments I have ever heard are when cops tell me Training Day and Assault on Precinct 13 inspired them to become cops. The funniest compliments I have ever heard are when people tell me that 'I love your band Sugar Ray.
When I was a kid, I would make these incredibly bloody movies in my back yard. I was constantly making weird blood concoctions; Jell-O and milk was a good one. I was constantly ruining clothes and staining my parents' walls and stuff.
You go through stages in your career that you feel very good about yourself. Then you feel awful, like, 'Why didn't I choose something else?' But overall I'm pretty satisfied that I made the right choice when I decided to be an actor.
Back in the day, coming out was something very personal. You began by acknowledging the truth, first to yourself, then to close family and friends. Those of us more in the public spotlight, though, also had to 'come out' to the press.
If I knew that, I'd fall in love over and over again. Hearts aren't supposed to be mended. If you fall in love and it doesn't work out, you get a broken heart. What comes out of that will make you a better lover and partner next time.
Not a lot of gay guys end up coming to alt-comedy-ish shows. They like all these '80s shimmer shows, or they like going to drag shows. It is always weird and interesting when I meet somebody at a gay bar who is familiar with my stuff.
I sang barber shop harmony and sort of got into performing. And it just came naturally. Then, when I was in college after the war, I did a play, 'Pygmalion,' by George Bernard Shaw. And from then on, I knew that's what I wanted to do.
'Leave It To Beaver' is a fairly famous show in America, but I don't think it travelled. It was one of those typical '50s family comedies. I was in the pilot episode as sort of the dark presence: my character was called Eddie Haskill.
If I want people to be empathetic to my struggle - they don't see hate crimes at the mosque, they don't see people screaming at their cousins, brothers, or sisters who wear a hijab to "go back to your country" - I have to do the same.
Sometimes I'm doing a big movie, or sometimes I'm doing a TV show, but as an actor, it's almost the same thing for me. If I'm doing action, or comedy, or something more heartfelt, it's a different approach, but it's all acting for me.
You have tours that go to certain parts of the world to see a specific type of bird, and then you come back to Hollywood, and you see tour vans that go around in hopes of catching a glimpse of Halle Berry going out to get a newspaper.
I headed out to have a breather at the stage door, dressed in my tramp costume. I had my bowler hat between my feet and there were passers-by, and one of them turned back and said, 'Do you need help, brother?' And $1 fell into my hat!
It's weird because my parents don't really understand my business. I get fan mail all day long, but if a piece happens to get to their house, they're like, 'Oh, my God, you've got a fan! You have to write them back. You have to do it!
I find that a lot of actors who are good and open to challenges have lived a full life. When you walk into an audition, you have more to say for yourself because you come from the real world. It's more enticing for directors, I think.
Everything I ever learnt as a small boy came from my father, and I never found anything he ever told me to be wrong or worthless. The simple lessons he taught me are as sharp and clear in my mind as if I had heard them only yesterday.
I grew up in Mississippi, and there's no fashion game there. Even in 'Bling Ring,' I had to learn a lot about fashion - you know, the differences between lapels - and it wasn't until we'd wrapped that I really started getting into it.
When all my mates used to think they were proper rude boys, they used to take the piss out of me for wearing casual clothing. But in terms of a faux pas, I reckon I'm too proud to admit it - I'm of the opinion that I always look boss.
What I do know is that with a celebrity's death comes an avalanche of media, and in that media is most often another death - it takes a life that is filled with complicated talent, hope, success and drive and reduces it to the 'story.
I don't deal with death very well. My brother, John Candy, my dad, my mom, Brandon Tartikoff just a couple of weeks ago. I mean, you lose a lot of people in your life, and that's one thing I am constantly working on - pain management.
I've come to a point where I just want to do movies that I just believe in. I have come to an understanding of filmmaking, a new understanding where I believe it's a director's medium. That means working with people that I believe in.
When I read the book [The Adderall Diaries] I loved it, and I maybe had an inkling that there was a lot of good material in there. I didn't quite know at the time how to adapt it into a film, but I hoped I would figure it out one day.
I guess what I enjoy most is directing, because it incorporates all aspects of filmmaking. Directing is in the same line as acting - both are popularity contests, and in both you're trying to tell a story through the film as a medium.
I think it's cool to play characters who are very joke-y and yet you can show a total serious, very somber side to them. You don't normally get that in a film - and in a [film] series especially. To be able to do that was really cool.
I've always needed to bulk up, so until the modeling took off I was ramming Big Macs down my throat and doing plenty of bodyweight work. I'm over the Big Macs now, but I'll still drop down and do my press ups whenever I find the time.
Marriages had different meanings back then than they do now, they were used to cement agreements between families, business deals and things like that. The idea of marriages being arranged for love is some sort of modern idea, really.
I get some of the nicest fan mail you could imagine. Also when I'm up for an award, my fans all vote online and then they'll boast to each other about how many thousands of times they've clicked my name. Their thumbs must be bleeding!
It's always most interesting when Batman starts out as that lone Dark Knight and then is forced to have to interact with someone else, whether it's Dick Grayson or Damian Wayne or anybody else, and deal with their pesky personalities.
I auditioned for Lamorne Morris' part, Winston, on 'New Girl.' In the scene, the character was eating a mayonnaise sandwich. I thought, 'Nobody else is going to go into the audition eating, and this is how I'm gonna set myself apart.'
I have a place in Chicago and I get there as much as I can... The city is so unbelievably beautiful. It's one of the greatest cities on the planet. My heart beats differently when I'm in Chicago. It slows down and I feel more at ease.